Since the second half of the last century art historians, realizing that the image of Rembrandt's work had become blurred with time, have attempted to redefine the artist's significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future.

They examined the originals of all works attributed to Rembrandt taking full advantage of today's sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis - thereby gaining valuable insight into the genesis and condition of the paintings.

The result of this meticulous research is laid down chronologically in the following Volumes:

A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt's early years in Leiden(1629-1631), published in 1982.

A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986.

THIS VOLUME: A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990.

Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works in:

A. Paintings by Rembrandt, B. Paintings of which Rembrandt's authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt's authorship cannot be accepted.

This volume (Volume III) contains 820 pages, starting of with three introductory chapters and discussing 86 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume important paintings including the Night Watch are discussed.

Inhalt

I Stylistic Features of the 1630s: The History Paintings (J.B., E.V.D.W.).- II Studio Practice and Studio Production (J.B.).- III A Selection of Signatures, 1635-1642 (J.B.).- Biographical Information 1635-1642.- Catalogue.- Notes on the Catalogue.- Paintings by Rembrandt.- A 105 The Entombment, [1633/1635]. Glasgow, Hunterian Art Gallery, University of Glasgow.- A 106 John the Baptist preaching, [1634/1635]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie.- A 107 The Lamentation, [1634/35]. London, The National Gallery.- A 108 Abraham's sacrifice, 1635. Leningrad, The Hermitage Museum.- A 109 Samson threatening his father-in-law, [1635]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie.- A 110 Belshazzar's feast, [c. 1635]. London, The National Gallery.- A 111 The prodigal son in the tavern, [c. 1635]. Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister.- A 112 Flora, [1635]. London, The National Gallery.- A 113 The rape of Ganymede, 1635. Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister.- A 114 Minerva, 1635. Tokyo, Japan private collection (Deposit Bridgestone Museum of Art, Tokyo).- A 115 Portrait of Philips Lucasz., 1635. London, The National Gallery.- A 116 The blinding of Samson, [1636]. Frankfurt-am-Main, Städelsches Kunstinstitut.- A 117 Susanna at the bath, 1636. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A 118 The Ascension, 1636. Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek.- A 119 Danae, [1636-1643]. Leningrad, The Hermitage Museum.- A 120 The standard-bearer, 1636. Paris, private collection.- A 121 The angel Raphael leaving Tobit and his family, [1637]. Paris, Musée du Louvre.- A 122 Half-length figure of a man in 'Polish' costume, 1637. Washington, D.C., The National Gallery of Art.- A 123 The wedding of Samson, 1638. Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister.- A 124 The risen Christ appearing to Mary Magdalene, 1638. London, Buckingham Palace, H.M. Queen Elizabeth II.- A 125 Landscape with the Good Samaritan, 1638. Krakow, Muzeum Narodowe.- A 126 The Entombment, [c. 1635/1639]. Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek.- A 127 The Resurrection, [c. 1635/1639]. Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek.- A 128 Man in oriental costume (King Uzziah stricken with leprosy?), [c. 1639]. Chatsworth, The Duke of Devonshire and Trustees of the Chatsworth Settlement.- A 129 Portrait of a man, standing (Cornelis Witsen?), [1639]. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshöhe.- A 130 Portrait of a man holding a hat, [c.1639]. Los Angeles, Cal., The Armand Hammer Collection.- A 131 Portrait of a young woman, probably Maria Trip, [1639]. Amsterdam, Rijksmuseum (on loan from the Familie van Weede Stichting).- A 132 Portrait of Aletta Adriaensdr., [1639]. Rotterdam, Museum Boymans-van Beuningen, Willem van der Vorm Foundation.- A 133 A dead bittern held high by a hunter, [1639]. Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister.- A 134 Dead peacocks and a girl, [c. 1639]. Amsterdam, Rijksmuseum.- A 135 The Concord of the State, [later 1630s]. Rotterdam, Museum Boymans-van Beuningen.- A 136 Landscape with a stone bridge, [late 1630s]. Amsterdam, Rijksmuseum.- A 137 Mountain landscape with a thunderstorm, [c. 1640]. Braunschweig, Herzog Anton Ulrich-Museum.- A 138 The Visitation, 1640. Detroit, Mich., The Detroit Institute of Arts.- A 139 Self-portrait, 1640. London, The National Gallery.- A 140 Portrait of Herman Doomer, 1640. New York, N.Y., The Metropolitan Museum of Art.- A 141 Portrait of Baertje Martens, [1640]. Leningrad, The Hermitage Museum.- A 142 Saskia as Flora, 1641. Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister.- A 143 Portrait of the Mennonite preacher Cornelis Claesz. Anslo and his wife Aeltje Gerritsdr. Schouten, 1641. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie.- A 144 Portrait of Nicolaes van Bambeeck, [1641]. Brussels, Musée Royal des Beaux-Arts.- A 145 Portrait of Agatha Bas, 1641. London, Buckingham Palace, H.M. Queen Elizabeth II.- A 146 The company of captain Frans Banning Cock and lieutenant Willem van Ruytenburgh, called The Night watch, 1642. Amsterdam, Rijksmuseum.- Paintings Rembrandt's authorship of which cannot be positively either accepted or rejected.- B 9 Ahasuerus condemning Haman, who begs mercy of Esther. Bucharest, Muzeul de Art? al Republicii socialiste România.- B 10 Bust of Rembrandt with an architectural background. Paris, Musée du Louvre.- B 11 Half-length figure of a youth in a cap and gorget. Florence, Galleria degli Uffizi.- B 12 River landscape with a windmill. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshöhe.- Paintings Rembrandt's authorship of which cannot be accepted.- C 83 Manoah's sacrifice. Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister.- C 84 David's parting from Jonathan. Leningrad, The Hermitage Museum.- C 85 The departure of the Shunammite woman. London, Victoria &c Albert Museum.- C 86 Tobias healing his blind father. Stuttgart, Staatsgalerie.- C 87 The Holy Family with S. Anne. Paris, Musée du Louvre.- C 88 The parable of the labourers in the vineyard. Leningrad, The Hermitage Museum.- C 89 Half-length…